UPTOWN – Before the Christkindlmarket took over Daley Plaza, the Goodman staged “A Christmas Carol” or the Joffrey put on “The Nutcracker,” another beloved Chicago holiday tradition was born on the North Side of the city: “The Other Cinderella,” an original family-friendly musical celebrating its 47th anniversary this year at the Black Ensemble Theater.
Staged every few years since 1976, the musical comedy retells the classic Cinderella story through a modern Black lens. But according to writer, director and Black Ensemble Theater founder Jackie Taylor, she doesn’t deserve sole credit for the show’s creation.
“Actually my students came up with the idea,” Taylor told Block Club. “I’m a teacher and my class on one particular day was just very difficult and challenging. And I said, ‘Okay, it’s obvious that you all do not want to learn today. So what do you want to do?’ And they had seen Rodgers and Hammerstein’s ‘Cinderella’ musical the night before because it was on TV. And one little girl raised her hand and said ‘Miss Taylor, can we do Cinderella?’ And I said, ‘Well, we can’t do the Cinderella that you’re referring to. We’re gonna do the other Cinderella.’ And that’s how I developed the script and it went from there.”
Set in “The Kingdom of Other,” “The Other Cinderella” opens with a family of familiar fairy tale archetypes: commanding King Harry (Vincent Jordan), empathetic Queen Mildred (Qiana C. McNary), and their shy son Prince Charles (Ramone Griffith). But unlike the kingdom you might know from the classic Cinderella, this one has a South Side, a West Side and a Hood. This Cinderella (Miciah Lathan) grew up in the projects, and has a Stepmama (Cynthia F. Carter) who works at the post office, stepsisters who’d rather shop than get a job (Michelle Renee Bester and Brittney “Britt” Edwards) and a Fairygodmamma (Melanie McCullough) who hails from Jamaica.
In other words: “The Other Cinderella” is a fairy tale with a decidedly modern twist—even if it was first staged almost five decades ago.
With 16 original songs that blend a classic musical theater sound with elements of Motown, R&B, funk, hip-hop and more, “The Other Cinderella” has long marched to the beat of its own drum.
According to Taylor, when it comes to keeping the long-running show fresh, “You just update the obvious.” For instance, when the show first debuted, there was a joke about a handsome chauffeur who looked like Sidney Poitier. Later the reference was updated to Denzel Washington; this year, it’s Michael B. Jordan who gets the shout-out.
While most of the tweaks to the show’s script are small (Facebook and Uber Black both get a mention now), this year’s production also sees one of the show’s biggest additions yet: a brand-new song called “The Woman In Me” sung by the Duke’s son (Makenzy Jenkins), a character who faces homophobia from some of the less progressive residents of The Kingdom of Other. “He’s always been mentioned,” Taylor explained. “But I decided that he needed to be seen this year.”
It’s one of many social issues woven into “The Other Cinderella”’s upbeat musical landscape. Act two kicks off with a love duet that touches on issues of colorism in the Black community, while a charismatic character called the Page (Brandon Lewis) must adjust to the cultural differences between life at the palace and life back home in the Hood. Elsewhere, the big ball scene gets some levity thanks to the arrival of Dorothy (Colleen Virginia Perry), a white girl from Kansas who wants to start a more soulful new life in The Kingdom of Other.
With so many characters and storylines to serve, one of the main things Taylor focuses on in the show’s four-week rehearsal process is getting the tone just right. “Comedy is very difficult to pull off,” Taylor explained. “There’s a fine line between creating a caricature and creating a real character that’s funny.” Her work as a director involves helping her cast find a sense of comedy while still keeping their characters grounded so that they feel like “real people.”
As a writer, Taylor balances the show’s goofy warmth with moments of drama and empowerment. For Cinderella’s big act-one finale song, “The Spirit Inside of Me,” Taylor pulled from her own experience of losing her parents and yet finding the strength of spirit to carry on. It’s Taylor’s favorite number in the show, and a standout moment as performed by Lathan, with her powerhouse vocals.
“Every cast brings something new and special,” Taylor explained of the talented group of actors who bring this year’s production to life, many of whom are regulars at The Black Ensemble Theater. “They’re all unique and different in beautiful ways.” And they’re now part of a long-running tradition that’s reached generations of Chicago families.
“I have people who come to the show that saw me as Cinderella in 1976,” Taylor noted. “And to see them enjoy and understand the production so much that now they’re grandparents and they’re bringing their grandchildren … it’s a great feeling.”
Taylor – who will step into the role of the Fairygodmama for a special “one night only” New Year’s Eve show on December 31 – describes “The Other Cinderella” as a show for “all shapes, colors and sizes.” Asked what she hopes audiences will take away from this year’s production, Taylor zeroed in on a feeling of positivity: “I hope they take away the messages — the messages about inclusion; the message that we all, no matter who we are or what we are, deserve respect and dignity. And I want them to take away the lesson that Cinderella has to learn in accepting the greatness that lives within her.”
“Jackie Taylor’s The Other Cinderella” runs through Jan. 14 at the Black Ensemble Cultural Center, 4450 N. Clark St. Tickets range from $55-$65 and are available online or at the Black Ensemble Theater Box Office.
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